"There Are At Least 1000 Ways To Draw A Tiger" is a body of visual research stemming from a dissertation discussing the ideas of identity, "isolation", "obsession" and "authenticity" that surround the discourse of (so-called) Outsider Art.
'There Are at Least 1000 Ways' borrows these themes into an established arts practice, and investigates the benefits of private image making- working in a "selfish" and intuitive way. One subject, the tiger, was chosen as an element of forced obsession. With so much time spent thinking about tigers, it was soon established that there must be, at least, 1000 ways to draw one, or anything at all.
The entire project can be viewed here
Summative statement:
‘Outsider Artists’ are artists who have not engaged with the ‘art world’. They are 'isolated’ from art institutions, and make their work entirely for personal reasons. They make art in a non-traditional settings.
The 'Outsider Artist’, away from the art world, is not influenced by the work or words of others. The artist, with no academic training, may create work that is visually and thematically unexpected to the usual art eye. Sometimes, particularly in Outsider Art, the artist displays tendencies to repeat a similar motif over an over. The Outsider Artist draws what they want to.
This project is an investigation into borrowing these elements into an already established artistic practice. It stems from a belief that, although working in non-traditional environments and circumstances, they are very much similar to all artists. These Outsider Artists should not be excluded, isolated or exploited for being “Outside”, as so often they are. There is a lot to be learned from the Outsider practice, from everyone.
This body of work and the corresponding exhibition proposal is an investigation of anonymity, private practice, repetition and intuitive mindset image making- factors observed in 'Outsider’ Artists work and applied to an 'established/ insider’ practice (my own). The theme “tigers” was chosen for simplicity and visual potential. The investigation into 'Outsider’ Art practice soon merged into a personal exploration of how one individual subject matter could be pulled and shaped and twisted.